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Oboe’s roots are based on ancient Greek, Egypt and the Middle East. Numerous woodwind instrument regarded as the ancestors of Oboe bears the name of Zurna in Asia, Zamr in Egypt, Kuan in China, Hişiriki in Japan. According to the findings of “aulos” known to come to Greece from Asia Minor, it was played on Mount Olympos at the feast of Gods for the first time and it was thought that the goddess “Athena” invented. The aulos are shown as pairs in the hands of the player. One of these is used to join the tune and the other to join and accompany the instrumental ensemble. Besides this, the first oboes used in folk dances in Europe were also used town festivals and at large meetings, and was taken to the first military musical team established in Louis XVI in France.. In this study, it was determined that the oboe was used in orchestras through the advances provided and the additions made to the mechanism by the great virtuoses in history in terms of its execution and mechanism; and was joined with the other varieties (Korangle and Obua’d amore) used in the orchestra from time to time. As a result, many concertos have been written for the oboe since the Baroque age and it has been observed that this tradition has been developed and continued by Mozart and Richard Strauss and many famous composers in our century.

In assuming that the violin family of instruments is the staple of Western instrumental art music, Hautboisten, among the most important musicians of the seventeenth and eighteenth centuries, constitute a neglected area of research. Hautboisten are known to have been among the major suppliers of musical entertainment in the German-speaking lands in the first half of the eighteenth century. The term Hautboistenbande has often been translated by contemporary scholars as ‘oboe band’. Indeed, these ensembles developed into wind bands known as Harmoniemusik; Hautboisten, however, were originally routinely trained to perform on multiple wind instruments as well as string instruments.The Lilien Partbooks, which are part of the Sonsfeld Collection (the Sonsfeldsche Musikalien Sammlung; now held in the Bibliotheca Fürstenbergiana in Herdringen; D-HRD Fü 3741a), represent the most comprehensive primary source of music for such an ensemble. A detailed incipit catalogue of the compositions compiled in these partbooks draws together our current knowledge of the Lilien Partbooks and of eighteenth-century Prussian Hautboisten. The extensive catalogue of the works collated in the six partbooks constitutes a valuable aid for future research.

For many, the phrase “English pastoralism” evokes a very particular sound world. Hushed, muted strings undulate in lightly dissonant, modally inflected pan-diatonicism. An oboe or an English horn s...

El presente artículo presenta un análisis de la obra Díptico para Oboe escrita por el compositor colombiano Ricardo Opina Duque, basado en el método ecléctico de Lawrence Ferrara y en entrevistas con el compositor, lo cual permite hacer un aporte a la música para oboe hecha en Colombia en el siglo XXI. En este texto se presenta un registro de sugerencias interpretativas, las cuales facilitan la ejecución de esta obra, además se incluye una visión hermenéutica y una contextualización histórica, lo cual aporta al análisis e interpretación de la obra. En el ámbito académico latinoamericano se encuentra poca bibliografía y análisis de obras para oboe de compositores de la región, este texto aporta al análisis en interpretación de la obra díptico y profundiza en los aspectos sonoros y técnicos del oboe., This article presents an analysis of the piece for Oboe named "Díptico" written by the Colombian composer Ricardo Opina Duque, based on the eclectic method of Lawrence Ferrara and in interviews with the composer, which allows making a contribution to the music for oboe made in Colombia in the XXI century. In this text, a record of interpretative suggestions is presented, which facilitate the execution of this piece, as well as a hermeneutical vision and a historical contextualization, which contributes to the analysis and interpretation of the piece In the Latin American academic field there is little bibliography and analysis of the works for oboe by composers from this region, this text contributes to the analysis in interpretation of the piece Díptico and delves into the sound and technical aspects of the oboe.

[ES] Debido al gran éxito que cosechó entre el público del siglo XVIII la ópera Una cosa rara de Vicente Martín y Soler, a partir de la fecha de su estreno en Viena en 1786, afloraron diversas y numerosas adaptaciones camerísticas. El objetivo era que la sociedad pudiera continuar disfrutando de su música en cualquier ocasión, sin la necesidad de todo el entramado escénico que conlleva la ópera; desde festividades organizadas por la aristocracia, hasta veladas íntimas entre amigos y familiares burgueses. Una de estas adaptaciones fue la que realizó el compositor bohemio G. Druschetzky para oboe, violín, viola y violonchelo, que es sobre la que versa esta investigación. Esta tesis aporta una reconstrucción original e inédita de la adaptación de esta ópera que incluye nuestra propuesta interpretativa con indicación de articulaciones e indicaciones dinámicas y agógicas. Nuestra propuesta ha sido elaborada a partir del estudio comparado y de la revisión crítica de las fuentes primarias; el manuscrito de la adaptación "druschetzkiana" y la copia manuscrita de la ópera. Toda esta investigación ha cristalizado en el registro sonoro de la reconstrucción que hemos realizado. Esto ha supuesto la primera grabación mundial de esta adaptación, para oboe y trío de cuerdas, de la ópera Una cosa rara del compositor valenciano Vicente Martín y Soler., [CA] A causa del gran èxit que va collir entre el públic del segle XVIII l'òpera Una cosa rara de Vicente Martín i Soler, a partir de la data de la seua estrena a Viena en 1786, van aflorar diverses i nombroses adaptacions camerístiques. L'objectiu era que la societat poguera continuar disfrutant de la seua música en qualsevol ocasió, sense la necessitat de tot l'entramat escènic que comporta l'òpera; des de festivitats organitzades per l'aristocràcia, fins vetlades íntimes entre amics i familiars burgesos. Una d'estes adaptacions va ser la que va realitzar el compositor bohemi G. Druschetzky per a oboé, violí, viola i violoncel, que és sobre la qual versa aquesta investigació. Aquesta tesi aporta una reconstrucció original i inèdita de l'adaptació d'esta òpera que inclou la nostra proposta interpretativa amb indicació d'articulacions i indicacions dinàmiques i agògiques. La nostra proposta ha sigut elaborada a partir de l'estudi comparat i de la revisió crítica de les fonts primàries; el manuscrit de l'adaptació druschetzkiana; i la còpia manuscrita de l'òpera. Tota aquesta investigació ha cristal·litzat en el registre sonor de la reconstrucció que hem realitzat. Açò ha suposat la primera gravació mundial d'aquesta adaptació, per a oboé i trio de cordes, de l'òpera Una cosa rara del compositor valencià Vicente Martín i Soler., [EN] Due to the great success that Vicente Martín y Soler's opera Una cosa rara had among the public in the 18th century, from the date of its premiere in Vienna in 1786, various and numerous chamber adaptations appeared. The objective was that society could continue to enjoy his music on any occasion, without the need for all the scenic framework that opera entails; from festivities organized by the aristocracy, to intimate evenings between bourgeois friends and family. One of these adaptations was the one made by the Bohemian composer G. Druschetzky for oboe, violin, viola and cello, which is what this research is about. This thesis provides an original and unpublished reconstruction of the adaptation of this opera that includes our interpretive proposal with an indication of articulations and dynamic and agogic indications. Our proposal has been elaborated from the comparative study and the critical review of the primary sources; the manuscript of the "druschetzkiana" adaptation and the handwritten copy of the opera. All this research has crystallized in the sound record of the reconstruction we have carried out. This has been the first worldwide recording of this adaptation, for oboe and string trio, of the opera Una cosa rara by the valencian composer Vicente Martín y Soler.

Relatório Final do Estágio do Ensino Especializado, apresentado à Escola Superior de Música de Lisboa, do Instituto Politécnico de Lisboa, para cumprimento dos requisitos à obtenção do grau de Mestre em Ensino da Música, conforme Decreto-Lei n.º 79/2014, de 14 de Maio. Submitted by Luísa Marques (lmarques@esml.ipl.pt) on 2021-09-08T11:37:33Z No. of bitstreams: 1 Relatorio_Susana_de_Oliveira_Versao Finalizada.pdf: 20555918 bytes, checksum: 3666c9c20735d473b8f865f6ed8a23a7 (MD5) Made available in DSpace on 2021-09-08T11:37:33Z (GMT). No. of bitstreams: 1 Relatorio_Susana_de_Oliveira_Versao Finalizada.pdf: 20555918 bytes, checksum: 3666c9c20735d473b8f865f6ed8a23a7 (MD5) Previous issue date: 2019-12-13 N/A

Johann David Heinichen wurde 1683 in Krössuln im Herzogtum Sachsen-Weißenfels geboren. An der Thomasschule in Leipzig erhielt er eine fundierte Ausbildung; nach einem Jurastudium wandte er sich dann ausschließlich der Musik zu. Während einer mehrjährigen Italienreise wurden mehrere Opern Heinichens erfolgreich in Venedig aufgeführt. 1716 lernte er dort den sächsischen Thronfolger Friedrich August II. kennen, der ihn an den Hof seines Vaters August des Starken als Kapellmeister verpflichtete. In dieser Funktion prägte Heinichen das musikalische Leben Dresdens entscheidend mit. Heinichen starb 1729 im Alter von nur 46 Jahren in Dresden. Die vorliegende Komposition ist im "Répertoire International des Sources Musicales" noch in zwei weiteren Bibliotheken nachgewiesen, die dort jedoch jeweils anderen Komponisten (Matthäus Nicolaus Stulyck bzw. - fälschlich - Georg Friedrich Händel) zugewiesen ist. Für die vorliegende Ausgabe wurde die in Rheda genannte Zuschreibung an Heinichen beibehalten.

Submitted by Paulo Moreira (paulomoreira@esmae.ipp.pt) on 2019-07-31T14:01:59Z No. of bitstreams: 1 Sara_Dias_MIA_2019.pdf: 8201846 bytes, checksum: 8b66cf3af58417322ed128aedf456ea8 (MD5) Made available in DSpace on 2019-07-31T14:01:59Z (GMT). No. of bitstreams: 1 Sara_Dias_MIA_2019.pdf: 8201846 bytes, checksum: 8b66cf3af58417322ed128aedf456ea8 (MD5) Previous issue date: 2019-07-17 Restored into DSpace on 2021-10-06T13:19:21Z (GMT).

Relatório Final do Estágio do Ensino Especializado, apresentado à Escola Superior de Música de Lisboa, do Instituto Politécnico de Lisboa, para cumprimento dos requisitos à obtenção do grau de Mestre em Ensino de Música. Submitted by Luísa Marques (lmarques@esml.ipl.pt) on 2019-07-31T15:34:25Z No. of bitstreams: 1 Relatório de Estágio final impressão - 7 jul 19.pdf: 11335154 bytes, checksum: 6acde9bcd8c36230a10a4d7b0a6115d0 (MD5) Made available in DSpace on 2019-07-31T15:34:25Z (GMT). No. of bitstreams: 1 Relatório de Estágio final impressão - 7 jul 19.pdf: 11335154 bytes, checksum: 6acde9bcd8c36230a10a4d7b0a6115d0 (MD5) Previous issue date: 2019-07 N/A

Hatıra Ahmedli Cafer composed the piece named Monologue II for solo oboe between 2018-2019. Her earlier work, Monologue I, was composed for solo ute. The monologue in musical works emerges as a genre in which the composer re ects his/her ideas, con icts and inner speeches in his/her inner world. Although it is written in a simple three-part form, it contains a deep philosophy; composer’s inner speec- hes and con icts of her ideas. The composer, in her work “Monologue II”, used the “Şüşter Maqam” con- sisting of two tetrachords with “semiton-wholeton-semiton” intervals combined with augmented second. “Şüşter” is a Azerbaijani Maqam and generally used to describe the su ering of man in musical works. In this work, the composer gave place to multiphonics which is an extended playing technique. Multiphonics is a general name given to two or more sound production technique at the same time from a monologue instrument that can produce a single sound. In addition, a quarter ton glissandi also appear in the work. In order to be able to play the quarter tone glissandi, it would be more appropriate to apply the key glissando technique. In this research, the form and maqam serials will be analyzed and the piece will be examined in terms of performance techniques.

Philip Alexander, MD, is a native Texan, retired physician, and accomplished musician and artist. After 41 years as an internal medicine physician, Dr. Phil retired from his practice in College Station in 2016. A lifelong musician and former music professor, he often performs as an oboe soloist for the Brazos Valley Symphony Orchestra. He began exploring visual art in 1980, evolving from pencil sketches—including an official White House portrait of President Ronald Reagan—to the computer-generated drawings featured in this journal. His images, which first appeared in this journal in the spring of 2012, are his own original creations. To learn more about Dr. Phil and his art, read “Art and Medicine with Dr. Phil” in issue 13.2.

The Concertino for Oboe and Strings by Turgay Erdener has significant importance because it is the first piece for oboe and strings written in concertino form by a contemporary Turkish composer. The composer has applied the rhythms and the maqams of the Ottoman Music, Turkish Folk Music and Turkish Art Music with the forms of Western Classical Music. The first movement is a compound ternary form and the core motif announced by the oboe is repeated continuously through the movement. The melodical structure of the first movement gives its place to the contrpunctual structure in the second movement. The basso continuo, segah maqam and Passacaglia form are the main features of this movement. The third movement has the lively atmosphere of the Turkish Folk Music. A humoristic language is applied in this movement where the playground of children has been described.

As noted by several authors in this forum, the National Communication Association (NCA) Learning Outcomes in Communication (LOC) are wisely proposed as “a starting point for conversation” rather th...

Since the new period, the continuous improvement of my country’s economic level has promoted the development of education, and the deficiencies that have existed in education in the past have gradually emerged. At present, in order to train more high-quality talents, it has become more social consensus to carry out education reforms. Oboe teaching, as an organic combination of art and education, should follow the development of the times, eliminate backward teaching methods, optimize teaching according to scientific teaching methods, and cultivate more high-quality artistic talents for the country.

Philip Alexander, MD, is a native Texan, retired physician, and accomplished musician and artist. After 41 years as an internal medicine physician, Dr. Phil retired from his practice in College Station in 2016. A lifelong musician and former music professor, he often performs as an oboe soloist for the Brazos Valley Symphony Orchestra. He began exploring visual art in 1980, evolving from pencil sketches—including an official White House portrait of President Ronald Reagan—to the computer-generated drawings featured in this journal. His images, which first appeared in this journal in the spring of 2012, are his own original creations. To learn more about Dr. Phil and his art, read “Art and Medicine with Dr. Phil” in issue 13.2.

When playing an instrument, the performance effect is closely related to the actual psychological state of the performer. The performer not only needs to have better professional skills, but also needs to have strong psychological quality, so that the performer can achieve the best state when performing an instrument.Therefore, in the process of oboe teaching, teachers need to pay attention to the use of performance psychology, improve the psychological quality of students’ performance, maintain a good state, and fully integrate performance skills and personal emotions.

Philip Alexander, MD, is a native Texan, retired physician, and accomplished musician and artist. After 41 years as an internal medicine physician, Dr. Phil retired from his practice in College Station in 2016. A lifelong musician and former music professor, he often performs as an oboe soloist for the Brazos Valley Symphony Orchestra. He began exploring visual art in 1980, evolving from pencil sketches—including an official White House portrait of President Ronald Reagan—to the computer-generated drawings featured in this journal. His images, which first appeared in this journal in the spring of 2012, are his own original creations. To learn more about Dr. Phil and his art, read “Art and Medicine with Dr. Phil” in issue 13.2.

This review of Godley’s life before joining the Treasury begins with a brief tour of his illustrious ancestors (including the founder of New Zealand’s Christchurch colony, a private secretary to William Gladstone who ruled India without going there and Oxford’s most widely quoted Latin orator). It follows him through a chaotic childhood and fierce boys school education to successful studies at Oxford, and the discovery of oboe skills which lead him via the Paris Conservatoire to a seemingly bright career in the BBC Welsh Orchestra. The London and Dublin arts scenes lead him to acquaintance with Lucian Freud and marriage to Kitty, who has recently divorced Freud. When stage fright stalls his orchestral career, Godley takes a more stable job in industry and, rediscovering an interest in the economics he studied at college, applies successfully for a post in the UK Treasury.

In this chapter we discuss the structural elements of lip driven instruments—trombone, trumpet, horn, tuba, of reed driven instruments—clarinet, saxophone, oboe, bassoon and of air jet driven instruments—flute, recorder, pipe organ. Reed driven instruments evolved over the centuries and have a very typical musical character. They have a common characteristic, the finger holes to change the pitch of the notes. The material used for their construction was mainly timber. An exception should be noted, the saxophone. Modern concert flute can be made of silver, gold or platinum. Organ pipes are made of wood and of a tin-lead metallic alloy. The evolution of wind musical instruments was determined by several factors among them the evolution of musical style, or by other factors such as economic, social, political and technological. In Europe, the patents related to the manufacturing of musical instruments and their evolution exist since the sixteenth century and continuously increased in number to the modern era. The reforms of the 1977 Patents Act radically changed the patent registration system, by the introduction of computer technology in the 1980s.

During the 16th and 17th century wood species used for woodwind instruments were plum, cherry, pearwood, ebony, boxwood, lignum vitae, and maple for larger instruments. During the 18th century fruitwood species were chemically treated with dyes or acids to have darker color and to be a substitute of ebony. Since the beginning of the 19th century tropical woods such as rosewood, cocuswood, satinwood were used for very fine small instruments rather then maple which was used mostly for bassoon made in Germany. In France, for the bassoon, rosewood was preferred to maple. Boxwood of British and Turkish origins having a high dimensional stability was employed for fine quality flutes. Early clarinets were made of plumwood, pearwood and maple. African blackwood was accepted as the best material of manufacture for oboe, clarinets, wooden flutes and piccolos. Giving the limited resources of tropical wood species for wind instruments, some efforts were oriented toward other substitutive species. This chapter summarizes physical, mechanical and acoustical properties of species commonly used for woodwind instruments.

Syftet med föreliggande studie är att studera hur flöjt- och oboelärare erfar fenomenet undervisningsmetodik. För att uppnå detta syfte utgår studien från följande forskningsfrågor: Hur ser oboelärare på undervisningsmetodik som redskap i sin instrumentalundervisning? Hur ser flöjtlärare på undervisningsmetodik som redskap i sin instrumentalundervisning? Vilka likheter- och/eller skillnader finns det inom undervisningsmetodiken som redskap för instrumentalundervisning på flöjt och oboe? Studien omfattar en kvalitativ intervjustudie på musik- eller kulturskolor i Sverige med tre flöjtlärare och tre oboelärare och tar avstamp i det teoretiska perspektivet fenomenologi. Forskningsmetoden för studien bottnar i semistrukturerade intervjuer som sedan transkriberats och analyserats med tematisk analys. Resultatet bärs upp av fyra teman. Dessa fyra teman är: Allmän musikdidaktik, (trä)blåsmetodik, flöjtmetodik samt oboemetodik. Det första temat präglas av övergripande lektionsstrukturer, övningar men även förhållningssätt till undervisningsmetodik. Den sammantagna slutsatsen gällande fenomenet allmän musikdidaktik är innebörden av relationsarbetet med eleven men även yttre förutsättningar som färgar undervisningsmetodiken. Det andra temat belyser träblåsmusikers gemensamma beröringspunkter om vad det innebär att spela ett blåsinstrument. Lärarna erfar fenomenet andning som en gemensam och fundamental utgångspunkt men även en gemensam uppsättning repertoar. Det tredje och fjärde temat belyser flöjtens och oboens olikheter och förutsättningar för spel. Några exempel på skillnader instrumenten emellan är oboens dubbelrör vilket är något som flöjtspelet inte har. Även om flöjt och oboe är båda blåsinstrument visar resultatet på två skilda syner på blåsteknik. Flöjtspel handlar om förmågan att släppa iväg mycket luft medan oboespel handlar om att hålla igen med luft och att stå emot det höga trycket som bildas. I det påföljande diskussionskapitlet sätts resultatet i förhållande till tidigare litteratur och forskning. The purpose of this study is to examine how flute and oboe teachers experience the phenomenon of methodology. To achieve this goal, the study is based on the following research questions: What are the oboe teachers view on methodology as tools in their instrumental education? What are the flute teachers view on methodology as a tool in their instrumental education? Which similarities and / or differences are there in the methodology as a tool for music instrument education on flute and oboe? The study is presented in a qualitative case study at music schools in Sweden with three flute teachers and three oboe teachers and is based on the theoretical perspective phenomenology. The research method for the study is based on semi structured interviews which have then been transcribed and analyzed with thematic analysis. The result is presented in four themes. These four themes are: General music didactics, (wood)wind methodology, flute methodology and oboe methodology. The first theme is characterized by general lesson structures, exercises but also the teachers approach to methodology. The overall conclusion regarding the phenomenon of general music didactics is the meaning of the relationship work with the student but also external conditions that color the methodology. The second theme highlights the common areas of woodwind musicians and what it means to play a wind instrument. The teachers experience the phenomenon of breathing as a common and fundamental starting point, but also a common set of repertoires. The third and fourth themes highlights the differences between the flute and the oboe and the conditions for play. Some examples of the differences between the instruments are the double reed of the oboe which is something that flute does not have. Although flute and oboe are both wind instruments the result shows two different visions on blowing techniques. Flute playing is about the ability to release a lot of air while oboe playing is about holding back with air and resisting the high pressure that is created. In the following discussion chapter, the result is set in relation to previous literature and research.

The oboe and clarinet are relatively similar instruments in their size and shape yet create such a different sound. This study is an exploration of the reasoning behind their differences through a detailed acoustical analysis and geometrical study of these instruments, comparing and contrasting their properties. The oboe and clarinet are comparable in size but have some key differences. The oboe’s conical shape allows for all the harmonics to be present, while the clarinet is mostly cylindrical, except for the bell, so that mostly odd harmonics are present. The oboe’s keys have holes much smaller than those of the clarinet. Looking to find differences in acoustical spectra based on their geometric differences, samples of low, medium, and high ranges on both instruments using the same concert pitches have been taken. Data has been taken in a regular lab setting as well as an anecoic chamber in order to look for differences in harmonic content for each instrument. The data are consistent with the notion that the shape of the instruments does contribute to the spectra.

Reeds are critical components of tone production for all musicians playing instruments having single (clarinet, saxophone) or double reeds (oboe, bassoon). All wind players agree about the great importance of using reeds of high quality. The function of a single reed is that of a structural element acting as a pressure-controlled air valve at the input of the instrument. The functioning of a double reed is much more complex than that of a single reed. In an oboe and in a bassoon the reed is always in beating mode. Hand - made is mainly for reeds for professional players. The technology for mass production of reeds seems to be simple but requires sophisticated equipment.